Howdy!

If you are up for carrying some minor internal surgery, Its might be possible to mod the PLB to include some of the tone controls. Unfortunately I'm unfamiliar with the 2010 Dlx wiring and would need a copy of the diagram to work from to give you a firm answer.


Howdy Mr C,

It bypasses everything and routes the HB straight to the output jack. Guthrie Govan has one on his Siggy Suhr. He demo's it at 4:05 in the following clip

http://www.youtube.com/watch?v=uJhRi9hVDm8

Nice!

Enjoy!

Andy

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Pending Greatness

Ah-ha! And if that vid don't inspire mjrnvc to explore his Passing Lane switch a little further nothing will! Thanks, Andy.

BTW: just for the sake of conversation, I achieve a sort of similar result on my Lace Sensor equiped Strat simply by running them neck to bridge as Silver (8.1k), Blue (12.8k), Red (14.5k). That gives me nice neck tones from the Silver, most of my lead work on the Blue in the middle, and reserves the insanely high output Red at the bridge for the "mind melting" passing lane moments, merely from the flick of a selector switch. No weird circuitry involved.

Strats: so many possibilities!

Cheers - C

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From what I see you've wired the Blue and the Silver in a different manner.

Yep, the Blue is indeed a good pickup for the neck position, but also does the job very well in the middle and bridge positions. Same thing for the Silver, IMO.

As above, just use a boost pedal.
Unless you have a Strat with the passing lane switch, you will not understand how mind numbingly loud it becomes when you press the button.
The only reference I can give you is to turn your amp right up and turn the guitar to volume 1... Play a bit then whack the guit volume to 10.... Defo wakes anyone up!. I agree with Fender, yes it gives you a blistering sound for those screaming solos plus you also get a screaming banshee of a wife shouting "WTF"..
I tried dropping the height of the humbucker, it does not make a difference.... I just don't use it, it is out of bounds....

Be careful while using the passing lane button otherwise you could risk blowing up your ears or burn out your amp

If possible use a volume pedal to avoid those nasty things.

Since I don't have a lot of experience with different pickups, I'd like to ask a question concerning this. When you start using pups with this much output, do you have a hard time keeping the sound clean, if you wanted. It would seem like these would give you massive crunch. I've thought about a strat with hot pickups but I play a lot of clean and maybe daydreaming for something I don't want.

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Hi Drew: that's just one guitar that I use in a particular fashion, for '70s and more modern sounds. For "vintage" type clean tones I have others with lower output pickups. Although some people think Sensors can be good for that stuff too I kinda feel it's a case of horses for courses.

To be clear about it, the way Fender normally used that set was to put the Silver Sensor in the middle (as chromeface hinted), I guess with the idea that it is only there to give you your "in between" sounds on 2 and 4; because the leap in output between Silver in the middle and Red at the bridge really was outrageous. That was the hair metal era when a lot of guys only played on the bridge pickup anyhow: presumably the Blue Sensor was placed at the neck to give an approximately related output for a different tone for those brave enough to use their selector switch. None of those guys would have dreamed of using the middle on its own – or the in between sounds either, for that matter. So I suppose the Silver pickup was Fender saying; “Well, we gotta put something in that spare cavity…”

But I'm using the set a different way. Silver moved to the front and the guitar's volume around seven gives me the nice warm, clean neck tones I like a lot of the time. (Many people equip a Strat entirely with Gold or Silver Sensors for exactly that reason.) Putting Blue in the middle then offers a much more saturated gainy tone to use for most of the lead work. So far, we essentially have a two pickup guitar and use it as such most of the time.

So now that obscenely high output Red pickup at the bridge wired without a tone control is reserved purely for the moments when you want to throw everything into maximum interstellar overdrive and blaze off into the sky. Which I guess is sort of the idea of Fender's Passing Lane switch too. An approximately similar effect achieved by different means.

I guess all I'm saying is there can be different routes to comparable places, and also that there's no rules as to what you do with pickups.

Not obeying the rules is sort of what rock and roll is about, huh?



Cheers - C

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